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Hookey Alf

Photograph
1877-8 (photographed)
Artist/Maker
Place of origin

The photographer John Thompson (1837-1921) used the Woodburytype process patented in 1864 for the images in Street Life in London, including this photograph. Woodburytype was a photomechanical method of reproduction involving a sheet of light-sensitized pigmented gelatine, usually of a rich purple-brown colour, exposed to light through a negative. The gelatine hardens in proportion to the amount of light to which it is exposed and when soaked in warm water the unhardened gelatine is washed away. This was the first mechanical process that could successfully reproduce a photograph. The resultant image is in slight relief when seen through a magnifier. The process was complicated but remained popular until about 1900 because of the high quality and permanence of the finished images.


Object details

Categories
Object type
TitleHookey Alf (assigned by artist)
Materials and techniques
Woodburytype
Brief description
Woodburytype. Thomson John Thomson. Hookey Alf, plate from Street life in London, 1877-8.
Physical description
Tableau photographed in a Whitechapel tavern.
Dimensions
  • Height: 11.3cm
  • Width: 8.5cm
Object history
NB. While the term ‘an epileptic’ has been used in this record, it has since fallen from usage and is now considered offensive. The term is repeated in this record in its original historical context.
Summary
The photographer John Thompson (1837-1921) used the Woodburytype process patented in 1864 for the images in Street Life in London, including this photograph. Woodburytype was a photomechanical method of reproduction involving a sheet of light-sensitized pigmented gelatine, usually of a rich purple-brown colour, exposed to light through a negative. The gelatine hardens in proportion to the amount of light to which it is exposed and when soaked in warm water the unhardened gelatine is washed away. This was the first mechanical process that could successfully reproduce a photograph. The resultant image is in slight relief when seen through a magnifier. The process was complicated but remained popular until about 1900 because of the high quality and permanence of the finished images.
Bibliographic reference
Hoozee, Robert (ed.), British Vision. Observation and Imagination in British Art 1750-1950, Brussels : Mercatorfonds ; Ghent : Museum voor Schone Kunsten, 2007 30
Collection
Accession number
PH.344-1982

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Record createdNovember 1, 2006
Record URL
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